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SHAPING THE VISION: THE PHOTOGRAPHIC WORK OF ARIS KONSTANTINIDIS

Josefina González Cubero Escuela Técnica Superior de Arquitectura de Valladolid / Higher School of Architecture, University of Valladolid, Spain

Abstract

During his studies of architecture at The Technical University of Munich, Aris

Konstantinidis (Άρης Κωνσταντινίδης; Athens, 1913-1993) comes in contact with the

conceptions of Modernism. His early works reflect this affiliation, but soon he builds an

architecture that does not renounce to the modern condition, and neither to establish a

close relationship with tradition and genius loci of his country. Along with the practice of

architecture, he develops a photographic activity, using photography as documentation

and promotion of his architectural work. But he does not stop there, as he uses

photography in all its possibilities. Throughout his life he uses it as a research and

knowledge tool of his environment, and as a construction of the camera as well, I, e, as

art of looking.

This paper studies the characteristics of Konstantinidis pictures about the Greek

landscape and the vernacular architecture in his two books entitled Elements for Self-

Knowledge. Towards A True Architecture (Στοιχεία αυτογνωσίας. Για μιαν αληθινή

αρχιτεκτονική, 1975) and God-Built (Θεόκτιστα, 1992), and his final presentation in the

design of books.

Keywords: Konstantinidis, architecture, photography, vernacular, book design.

Since the moment that modern architecture and photography of architecture

have arrived to its maturity level, the architect has mainly used photography to

document and to promote his work. From the 19th century, the engravings of the

treaties were substituted in the specialised publications by a distinguished group

of documentary photographs from the Architecture and the Historiography had

supported the proliferation of its reproduction, a panorama that accustomed the

public to a determined visual knowledge as, pointed out by Walter Benjamin

(1931, 1999: 527), redefining a sentence by Moholy-Nagy, ‘‘The illiteracy of the

future’, someone has said, ‘will be ignorance not of reading or writing, but of

photography’’.

With an amateurish or professional practice, the photography has developed as

a reliable document in general and of the architecture in specific, characterized

by its technical neutrality. But the artistic form has also developed in its interior,

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which means a visual construction, which always has spoken in its proper

language. Albeit the fact that architecture is conceived by the architect,

undoubtedly, it is also created by the photographer, if it sees itself through a

reproduced image.

Walter Benjamin (1931, 1999: 510) has affirmed, ‘For it is another nature which

speaks to the camera rather than to the eye: "other" above all in the sense that

a space informed by human consciousness gives way to a space informed by the

unconscious’. This premise shapes the fact that the photography has never

intended to reproduce the objects as they are, nor expresses the truthful

appearances of the objects, but attempts to represent them in a photographical

form, which signifies to respect maximum to the characteristics which the

expressive medium imposes. In contraposition to the direct photography, which

neither has subterfuges nor tricks, Benjamin anticipates the danger of creative

photography in the decorative tendencies, the photogenic art form, whose aim is

its commercialism, an inevitable destiny of the architecture.

According to Nikolaus Pevsner (1949: 53), one cannot deny the power of the

photographer to appreciate or to destruct the original. Thus, the architecture,

converts itself soon to the accomplice of the camera and the architects started to

project having the photographical image in the mind (Colomina, 1996). Due to

this, the architects have controlled the capturing of the image with the

responsibility of the professionals or they have converted themselves into the

photographers of their own work. In spite of the fact that photography is not an

end at itself for the architects, very few have avoided its captivating capacity of

persuasion. Examples, such as of Adolf Loos, who conceives constructed

architecture for the direct personal experience, are not frequent. His friend

Tristan Tzara recognized him for his sixtieth anniversary as ’ce grand architecte,

le seul aujourd’hui dont les réalisations ne sont pas photogéniques, et dont

l’expression est une école de profondeur et non pas un moyen d’atteindre à

illusoires beautés’1.

1 Tzara T. (1930). Hommage de Tristan Tzara. In Adolf Loos Festschrift Zum 60. Geburtstag am 10-12-1930. Viena: Richard Lanyi. Quoted in Tournikiotis, P. (1991). Adolf Loos. Paris: Macula.

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The history of the 20th century architecture was diffused by photographs

published in the print medium, which indicates the existence of symbiotic

relation from the beginning of the association between the two disciplines and

that has shown itself in the first photographic evidence of Nicéphore Niépce, shot

from the window on the sky, and I would like to mention the symbolic relation

by taking into account the special relation among both disciplines, which means,

when the architecture appears within photography or endosymbiosis, as it is the

case quoted above, or when photography lives within architecture or

ectosymbiosis, as it can occur in certain contemporary proposals.

On the use of the photography as an instrument of knowledge, one can say that

buildings are photographed in order to be documented and to be eventually

divulgated. At the same time, architectural photography serves for a better

knowledge and as an inspiration for other buildings in a circulated feeding

process. However, for sure, the use of this representation technology, that has a

great impact on the perception of the architecture, is subordinated to the phase

of the design. Such a situation has been exceeded these days through the

introduction of alternative practices that have assigned to photography a

principal role in the conception and development of new proposals.

A particular use of photography made by the architect is the photography aimed

to obtaining references, which directs it to its creative world. By capturing

images of their immediate surroundings, or of its travels, the architects has

given publicity to its particular form to observe and to understand the world, as

may be the cases of Le Corbusier, Erich Mendelsohn or Fernando García

Mercadal, among others. The Greek architect Aris Konstantinidis

(ΆρηςΚωνσταντινίδης, Athens, 1913-1993) is one of these architects-

photographers who understands his activity with the camera during his travels in

Greece as a cultural practice that doesn’t reduces itself only to illustrate his own

work, but broadens himself with the vocation to capture the essences of the

surroundings so that they could be served as reference and basics for the

surroundings.

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Aris Konstantinidis has received his German university education from the

Technical University Munich (1931-1936), where he comes in first hand contact

with the prevailing Modern Movement. When he returned to his country, he was

awaited by the tragic years of Second World War and later, the period of Greek

Civil War (1941-1950). The proclamations and the optimism of a modern

redeeming architecture, initiated with a change of orientation in the 1930s

towards an architecture which valued the material and the handcrafted

technique, remained far and behind in Germany. Following the continued path, a

second impulse comes from the regionalist tendencies that emerged after

Second World War and was constituted by local manifestations of an

international culture that, each in its own manner, reflect the aspiration to define

a proper national identity. In Greece, the search was encouraged to leave the

separation clear, in the political atmosphere from the Iron Curtain block and in

the cultural aspect, within the heritage ambit of Ottoman Empire.

Konstantinidis shares a closeness of thought and results with other

contemporary European architects, such as Le Corbusier himself, Jorn Utzon,

Alejandro de la Sota or some time later José Luis Sert. Nevertheless, considering

the circumstances surrounding the search of a national identity is the point

where their results differed precisely. For example, in the case of Spain, the

military coup and the subsequent Civil War provokes the great exile of the elite

vanguard generation and Franco’s dictatorship absorbs the idea of the national

identity with a fake and imposing traditionalism, in whose heart, sporadic

glimpses of critical regionalisms arises, which are given by Kenneth Frampton.

The period in the aftermath of The Second World War is productive for

Konstantinidis. He photographs his own country, carries out the professional

work for the Urban Department of Athens' local administration (1938-40),

projects the studies for Week-end houses (1942-1945), marries the sculptress

Natalia Mela (1951) and between 1947 and 1953, publishes three books2 on

urban and rural Greek vernacular architecture, among them, special reference

must be made to the meticulous work on Old Athenian Houses (Τα

2 ‘Villages’ from Mykonos (1947), Old Athenian Houses (1950) and Country churches of Mykonos (1953).

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παλιάΑθηναϊκά σπίτια, 1950), and which will form the germen of his future

projects and publications and of the strong determination, he adopts on the

different ways on how contemporary Greek architecture shall draw its

inspirations and approaches from traditional and popular architecture.

In the search of the roots and the original truth in his photographic expeditions,

he extracts lesions from this type of the architecture, understood as something

as mutable that should be cultivated in order to produce the architecture of its

period. As has been observed by Tzonis (1981: 164-178), Konstantinidis is the

first among Greek architects, who created a consciously regionalist Modernism.

It is, however, evident that this search is exercised under influence of Le

Corbusier. The studies of the Week-end houses (1942- 1945) are direct

references of the Week-end house or Villa Henfel (1935) at the Celle Saint-Cloud

by the Swiss architect, and which he reproduces almost literally. The stonework

walls, the vault and the corridors are constant in the articulated variations of the

houses developed by him.

In the aftermath of The Second World War and The Greek Civil War, the 1950s

are marked by the reconstruction era, thanks to the financial help from the

Marshall Plan. These years are centred on the development of the industry, the

promotion of tourism and of residential infrastructure, low cost housing to lodge

a population, migrating from the rural areas towards the great cities in search of

work. This necessity leads him to incorporate himself at the Ministry of Public

Works (1942-1953).

The temporal parenthesis, before he involved himself again with administration,

permitted him to go on with his interest for photography and he publishes “H

φωτογραφικη τεχνη” (“The Art of Photography”), in ΕλληνικήΦωτογραφία (Greek

Photography), No. 3, March 19553. However, he was again chosen as the

Director of the Department of Design of the Organization of the Workers’

Housing Society (1955-1957), where he works for the development of a series of

projects of economic housing in many cities4. The legacy of modern architecture

3Article later included in Konstantinidis, A. (1984). Για την αρχιτεκτονική (On Architecture).

Athens: Agra. 4In Athens, Piraeus, Heraklion, Serres, Thessaloniki, Pyrgos and Aghios Nikolaos (Crete).

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on such projects consists in serving its functional proposition, the fidelity to a

strict screen generatrix that will be a constant of his work and the honesty of the

construction. His strong personality and a great architectural intransigence

maintained over the time leads to confrontations with his superiors, which finally

ends with his resignation.

He also became director of the Design Department of the Greek National

Organization of Tourism (1957-1967). His most outstanding job is The Program

Xenia (Ξενία, Hospitality), whose aim was to construct hotel facilities in the most

peripheral areas of the country with high cultural, natural or historical values, in

order to develop insignificant touristic areas.

Figure 1. Aris Konstantinidis. Xenia Mykonos, 1958-1959.

(Photo: M. Correia, Mª E. Blanco)

Figure 2. Aris Konstantinidis. Xenia Epidaurus, 1959-1963.

(Photo: M. Correia, Mª E. Blanco)

The hotel at Mykonos (1958-1915) resumes the intervention around natural

value; meanwhile he completes the Guesthouses for the actors from the theatre

or the staff of the archaeological site of Epidaurus (1959-1963) for its historical

value. Both the works, which are compounded by fragmented housing units and

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without s general specific geometrical scheme, are arranged in a sinuous form

on the sloping topography and a connection of tracks links the autonomous

units. The walls of the low and extended buildings are of dry stone art work in

the wall, completed by the freezing in reinforced concrete, elements that create

a direct reference to the local place.

The Xenia housing facilities, characterized by a deep understanding of the

qualities and aspects of any place, are a paradigm of the sensitive handling of

the use of the forms and materials and the balanced incorporation in the

landscape. It could be felt that these interventions were destined to reproduce a

mimetic architecture. However, the result remains quite distant from the

intention to emulate literally the architecture of the local place or of historical

remains.

Figure 3. Aris Konstantinidis. Week-end house, Anavyssos,

1962. (Photo: M. Correia, Mª E. Blanco)

Perhaps, the place where he achieves a greater degree of timeless lyricism is

with the private houses, whose most distinguished exponents are respectively

the Week-end houses at Anavyssos (1962) and at Aegina (1975). They move

between some uncertainty and leaning towards the traditional Greek house

composed of a single room and the juxtaposition of corridors, an imprint of the

houses Jaoul (1952-53) by Le Corbusier at Neully-sur-Seine. The compositional

ambiguity, fomented by the flattened covering can be found at the small

functional program, even if, they can be found in the larger program, when it is

divided into volumes, such as the residence-studio by the painter Iannis Móralis

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(1974-1978) at Aegina.

Through a great economy of media, Konstantidinis proposes a sensitive, reduced

vocabulary deprived of decoration. As the buildings insert themselves into a

natural context, he uses masonry supporting walls, following the constructive

tradition and the adaptation to the weather, and a reinforced concrete

unadorned structure. It exemplifies the coexistence and the dosing among the

materials offered by industry, without unnecessary idolatries, and local

materials.

Its grammar uses the sources of the reticular geometry of the modernist

repertory, the geometry that had not appeared in the initial holiday houses, and

in these houses is the warp and weft of them architectonical fabric; and apart

from the house, from where he generates the variations: from the gaps of the

screen and to the disposition and dimension of masonry walls that support the

weight of the covering to follow the structural logic of its construction. On the

warp, he constructs the corridors and the prismatic volume of a stereotomic

architecture that manages the light in relationship with both internal and

external spaces of the building.

Konstantidinis conceives architecture geometrically, however, connects it in an

organic way, laying it on the earth as it would originates from it, above all,

satisfying the functional, as well as material and psychological needs. The

invariants he pleads for were respected since immemorial times by

autochthonous architecture.

With the dictatorship of the Greek military junta (1967-1974), in 1967, he went

into self-exile to teach Architectural Project at the Polytechnic School of Zurich.

Once again, when he returned to his country in 1970, he returns to his

profession as an independent worker, reconciling some sporadic consulting to

the administration and taking up writing activity. At the end of the decade, he

abandons the exercise of his profession in disappointed manner as he thinks he

is no longer able to bring contributions further.

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134

After the temporal break of almost twenty years, since his first writings, if we

don’t take into consideration the publications of projects and works, in the year

1975, he publishes the book Elements For Self-Knowledge. Towards A True

Architecture (Στοιχεία αυτογνωσίας. Για μιαν αληθινή αρχιτεκτονική), in it he

includes the photographs he had made between 1938 and 1973, accompanied

by sketches and notes. Later he gave importance to his photographical

production with the posthumous book God-Built (Θεόκτιστα), published in 1994,

and that is exclusively composed of photographs. They are two books-manifest

on Greek’s natural and constructed environment designed totally by him, in

which he exposes his poetic-architectural visual thoughts.

Figure 4. Books of Aris Konstantinidis.

Elements For Self-Knowledge. Towards A True Architecture.

Photographs, Drawings, Notes. Athens: self-published, 1975.

God-Built. Athens: Crete University Press, 1994

The content of the photographs talks on the encountered images arranged in the

editorial narrative to transmit a message. The books begin with the presentation

of the duality sea – earth, to follow truffle by cliffs, beaches and rocks that

transform themselves into mountains, valleys, meadows, stones and trees (olive

trees). Almost at the beginning, emerge the first photographs of the Classic

Antiquity. They are mainly details of the construction and the materiality of the

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ruin, among which there is some panorama of the temples in the first book,

whereas, in the second, he gives more attention.

In the list of the publications there are villages, rural houses, mixed farming

constructions, streets and tracks, churches, hermits and cemeteries, in addition

to whole a wide number of enclosings, umbracula and spontaneous stalls. Both

domestic internals and images of the details of doors, windows, roofs, walls,

apparels made of diverse materials, pavements or objects are equally

recompiled.

Elements For Self-Knowledge is composed of five sections: black and white

photographs, color photographs to highlight the chromatism of the intervening

elements, the sketches of direct and delineated drawings. The penultimate

section, that will disappear in God-Built, is dedicated to advertisements, signs

and rural shops, some popular celebration and concludes with a vessel

photographed from above, whose circular form seems to allude to a mandala.

The illustrated heterogeneous constitution of the book leaves a last section,

which is dedicated to the written word.

With reference to the drawings, the decided lines sketch quickly the profiles of

the constructions, their interiors, their curious details, the frameworks. The

background landscape disappears except some fine line of the sea skyline

because the sketched nature is the one that wraps up the constructions for its

closeness. It is a sort of drawing that fixes immediately with the hand the forms

and contours, without disturbing other aspects of the light, texture or shade. The

counterpoint is given by the insertion of more elaborated and sketched drawings

corresponding to previous studies on the houses.

God-Built develops a narrative continuity and a larger unity than its predecessor,

due the exclusive use of colour photographs and to dedicate itself with a greater

abundance to the stereotomic constructions, albeit the fact that it concludes with

the tectonic skinny constructions of the umbraculums, one of them being the

beach through which he finishes observing the sea. If God-Built is his testament,

he illustrates the dialectics between the geometric rationality of the structure

and the autochthonous tactility of the walls.

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The photographs of Konstantinidis are a complete plastic declaration of the

landscape and also of men. In Elements For Self-Knowledge he affirms (1975:

302) ‘Landscape and Man: these are the two primary factors for the creation of a

true work of architecture. There can be no architecture without a landscape to

build it in, just as man cannot exist outside a specific natural environment’.

Briefly, he portrays people, street scenes, including objects that evoke his

absence more intensely. He is able to capture the relations of the human being

with the place at the margins of the usurpations developed by artistic

photography. Thus, he goes into the production of a photography experimenting

in the same sense as Walter Benjamin (1931, 1999: 526) establishes the

difference between creative photography and constructive photography of Soviet

cinema: ‘It is not too much to say that the great achievements of Russian

directors were possible only in a country where photography sets out not to

charm or persuade, but to experiment and instruct’. The photographs are the

bases on which he constructs his architectonic position of human and social

dimension, through the appropriation of the past of man and the anthropic

environment done by anonymous builders that made of Greek landscape

something unique and special.

The format of the photographs is a very relevant aspect, as the two books are

edited by him without any intermediary. In Elements For Self-Knowledge,

formats appear in square and rectangular shapes, in their horizontal and vertical

disposition. However, in God-Built the rectangular format is monographic. A

substantial difference between the two books can be observed at the geometric

proportion of the photographs rectangular format. Whereas in Elements For Self-

Knowledge the rectangles prolong themselves, including to achieve a very large

proportion and closely related to the content of the photographs, their

proportion is more concentrated in God-Built.

It could be said that the reproducing form of photographs in the books of

Konstantidinis has common points, overcoming the time and the distance, with

the use of the mask claimed by Eisenstein to defend the cinema. The soviet film

director postulates in ‘Le carré dynamique’ (1930) the square format of the

screen, as in his view this format is the format that cuts the less the framing

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liberty of the projected image and is able to receive the largest geometric

variation of settings. As the square surface is able to accommodate all possible

rectangles that may be created in its interior, with the concealment of part of

the surface of the image, dead surfaces are eliminated itself and intensity is

given to remaining part. Therefore, it can be fitted in the grand format of the

whole surface and it also uses the mask to make smaller squares and both

vertical and horizontal rectangles, as required by the content of the images.

As the geometrical figure of the cinematic image, the framework of the

photographic reproduction is attributed significance in respect to the

represented. Content and framework establish a concordance or dissonance, on

a case by case basis, to highlight the idea one wants to emphasise. In Elements

For Self-Knowledge the square format is, in general, used to act as neutral

element as concerns the content. The reasons are diverse: to support a

displacement, as we want that content’s symmetry prevails, a. s. o. The vertical

square cuts or supports, whereas the horizontal format fits to the content.

The decision of the square format of both books is truly another important

aspect for the disposition of the photographs in its pages. While the pages are

composed by themselves and also by opposing pairs, since these contrasts form

the visual area of the reader, with respect to the photographs, they always have

contact with at least one bode, so, they tend to peripheral situation and roughly

centered position on the page is absent. The most varied book on this issue is

Elements For Self-Knowledge. In it there is a whole casuistry of positions and

combinations contributing to an important visual dynamic.

The previous analysis intends to explain the role played by the frame of the

photograph and the design of the pages of the books can be assimilated to the

geometric screen and its variations in the buildings, whereas the content of the

photograph is closely related to the materiality constructed by them. The

writings which gives an end to Elements For Self-Knowledge is thread of Ariadna

so that whatever flows is the element, who wishes to go through the interior

world of Konstantinidis. References by poets, philosophers, thinkers, writers,

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138

painters and others than architects are incorporated. It is not strange that

among them, only Perret and Loos are mentioned.

In both of his books, he gathers his deep understanding of the local cultural

references, the inherent qualities to old archetypal structures and elementary

construction of Greek landscape, he had studied through his texts and recorded

in the photographic work consisting a resume of his life. The patient and

constant work to disentangle the extraordinary in the ordinary with the synthesis

photographs, demonstrates his conviction that architectural practice must be

based on these above mentioned qualities and these qualities should join the

earth to which it belongs. While photographing his own and also anonymous

works, he chooses what his country’s architecture is and should be and projects

the aura of the permanent and unique -due to their common content-, a

harmonious and epic balance between the natural and the constructed.

The appreciation by Susan Sontag (1977, 2005: 1) on photography reveals the

transcendence of her authority to us ‘In teaching us a new visual code,

photographs alter and enlarge our notions of what is worth looking at and what

we have a right to observe. They are a grammar and, even more importantly, an

ethics of seeing’. In this aspect, with the photographical travels, Konstantinidis

visualizes his architectonical thoughts of universal values, even if of specific

application because he attends to the characteristics of the place. Thanks to the

potency of the architect’s look and through his camera, he discovers dimensions

of reality that would, otherwise, remain hidden, and, in definitive, he achieves to

construct the ‘conceptual image’ of the true architecture he intends to transmit.

Finally, it is worth noting that ‘the men who love and respect and worship

their art, as the most precious thing in life, and identify themselves with

the events they describe’ (Solomos' words) are the ones who seek and

find in each tradition, even the most ancient, that which they wish to

achieve themselves, in their own time, with their own faith and vision.

(Konstantinidis, 1975, p. 325).

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Acknowledgments

This work was conducted within the project Photography, Modern Architecture and the

'School of Oporto'. Interpretations around the Teófilo Rego Archive (PTDC/ATP-

AQI/4805/2012; FCOMP-01-0124-FEDER-028054) and, as such, was co-funded by the

Foundation for Science and Technology IP (PIDDAC) and by the European Regional

Development Fund –FEDER, through COMPETE– Operational Programme for

Competitiveness Factors (POFC).

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Author identification

Josefina González Cubero. Architect. Doctorate in Architecture in 1996. Her PhD

Thesis studies the urban work of Le Corbusier. Professor in Architectural Projects since

1997 in the Department Architectural Theory and Designs at the University of

Valladolid's Technical School of Architecture, Spain, where she teaches on graduate and

posgraduate levels. Her research interests are the relationship between architecture and

other arts. Coordinator of Architecture and Cinema Research Group and colaborator

researcher of the CEAA, Centro de Estudos Arnaldo Araújo, Portugal.